This document discusses research into graphic novels held in public libraries in England. The research objectives are to analyze the consumption and appreciation of comics from 1980 to present, identify if libraries hold popular and critically acclaimed graphic novels, examine catalog records, and investigate selection processes. The researcher observed catalog records for 80 titles and found variations in inclusion of relevant information. Recommendations include improving catalog records through shared practices and considering genre-based collection development and displays.

1. GRAPHIC NOVELS IN ENGLAND’S
PUBLIC LIBRARIES

2. CLARIFICATION
‘graphic adj. 1 relating to visual art, especially
involving drawing, engraving, or lettering.’
(Pocket Oxford English Dictionary, ninth edition)
Graphic Novel
Comic Book
Format
‘Juxtaposed pictorial and other images in deliberate sequence’
(McCloud, 1994:9)

4. WHY GRAPHIC NOVELS?
 Interesting objects – storytelling, reading,
cataloguing
 Reader development
 Visual literacy
 Small amount of research from the UK

5. RESEARCH OBJECTIVES
 To analyse the consumption and critical appreciation of
comics from the 1980s to the present day.
 To identify whether public libraries in England hold both
popular and critically acclaimed graphic novels.
 To examine the way that graphic novels are described
and presented through online catalogue records.
 To investigate the processes in place for the selection of
graphic novels.
 To make recommendations for effective decision-making
with regard to the selection and management of graphic
novels and the maintenance of their catalogue records.

6. SYSTEMATIC OBSERVATIONS OF CATALOGUE
RECORDS
 Availability of 80 titles
 Critically Acclaimed list
 Popular list

7. OBSERVATION CHECKLIST
 Held by library service
 Cover image
 Subject description
 Media description
 Plot Summary
 Age related info in shelving information
 Age related info (other than shelving location)
 Specific age or age range
 Other work(s) by the same writer
 Other work(s) by the same artist
 Series title
 Given series title

8. 0
5
10
15
20
25
30
35
40
MBC1 NMCC1 NMCC2 NMCC3 NMCC4 NMCC5 NMCC6 NMCC7 NMCC8 NMCC9 UA1 UA2 UA3
No.ofworks
Library Service
Holdings from
Popular list
Holdings from
Critically
Acclaimed list

9. MOST COMMON WORKS
 Critically Acclaimed List
1st Place 2nd Place

10. MOST COMMON WORKS
 Popular List
1st Place 2nd Place

11. WORKS NOT HELD
From Popular List

12. Title
Last Edition
Published In Print?
Buddy Does Seattle 2005 Yes
Cerebus: Church And State 1987 No
Flaming Carrot Volume 3: Flaming Carrot's Greatest Hits 1998 No
Kane Book 1: Greetings From New Eden 2004 Yes
Leave It To Chance Volume 1: Shaman's Rain 2002 No
Locas: The Maggie And Hopey Stories 2004 No
Quimby The Mouse 2003 No
The Complete Chester Gould's Dick Tracy, Volume 1: 1931-
1933 2006 Yes
The Complete Classic Adventures of Zorro 2001 Yes
The Yellow "m" 2007 Yes
WORKS NOT HELD
From Critically Acclaimed List

14. HOLDINGS FROM CRITICALLY ACCLAIMED LIST
BY GENRE
1.9%
5.8%
11.5%
8.3%
7.1%
1.3%
19.2%
14.1%
14.7%
16.0% Adventure
Crime and Mystery
Fantasy
General Fiction
Horror
Humour
Non-fiction
Science Fiction
Superheroes
War

15. CATALOGUE RECORDS
 No top level records to unite volumes
 Works that are part of a series often not identified
as such
 11 out of 13 library services provided series titles on
less than 40% of works belonging to a series

16. Inclusion of relevant format descriptions
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
MBC1 NMCC1 NMCC2 NMCC3 NMCC4 NMCC5 NMCC6 NMCC7 NMCC8 NMCC9 UA1 UA2 UA3
%ofrecords
Library Service
Comic Book
Graphic Novel

17. 0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
MBC1 NMCC1 NMCC2 NMCC3 NMCC4 NMCC5 NMCC6 NMCC7 NMCC8 NMCC9 UA1 UA2 UA3
%ofrecords
Yes w/hl
Yes
Inclusion of series names

18. 0.0%
5.0%
10.0%
15.0%
20.0%
25.0%
30.0%
35.0%
40.0%
45.0%
50.0%
MBC1 NMCC1 NMCC2 NMCC3 NMCC4 NMCC5 NMCC6 NMCC7 NMCC8 NMCC9 UA1 UA2 UA3
%ofrecords
Library Service
Conflicting age-related guidance

19. RECOMMENDATIONS
 Make the most of the collection with good quality
catalogue records
 Share good practice
 Negotiate with suppliers
 Consider a genre based approach for the selection
of graphic novel stock
 Consider genre based displays

20. FUTURE RESEARCH
 Influences on selection decisions e.g. budgets and
the characteristics of the population served by
library services
 Design of collection development policies and how
the needs of the community are assessed
 Effectiveness of promotional activities incorporating
graphic novel stock

21. REFERENCES
 3d_molier (2013) Ketchup Bottle Heinz. 3D rendering. [Online image] [Accessed on 2nd
November 2015] http://www.turbosquid.com/3d-models/ketchup-bottle-heinz-3d-
max/736712
 Caddy, E.A. (2009) An investigation into the opinions of public library staff on how and
where a graphic, comic, and cartoon collection should be shelved. M.A. The University of
Sheffield.
 Caters News Agency (2014) Melissa’s Red Sauce Obsession. Image accompanying
news article. [Online image] [Accessed on 2nd November 2015]
http://i.dailymail.co.uk/i/pix/2014/02/27/article-2569171-1BDFF3A600000578-
886_638x422.jpg
 Fagan, B.D., and Fagan, J.C. (2011) Comic book collections for libraries. Santa Barbara:
Libraries Unlimited.
 Kannenberg, G. (2008) 500 Essential Graphic Novels. Lewes, East Sussex: Ilex.
 Libbey (2015) Balloon Wine glass. Image from product catalogue. [Online image]
[Accessed on 2nd November 2015] https://foodservice.libbey.com/Product-
Repository/Balloon-Wine-Glass3
 McCloud, S. (1994) Understanding comics: The invisible art. New York: HarperPerennial.
 Werthmann, E. (2010) ‘Graphic novel holdings in academic libraries.’ In Weiner, R.G.
(ed.) Graphic novels and comics in libraries and archives: essays on readers, research,
history and cataloging. Jefferson, North Carolina: McFarland & Co, pp. 242-259.
 WGGB (2011) Guidance for writers and those working with writers in the Comics,
Cartoon Strip and Illustrated Story Industries. London: The Writers’ Guild of Great Britain
[Online] [Accessed on 30th July 2014]
http://www.writersguild.org.uk/images/stories/News%20docs/Comic%20guide%20lines%
20final.pdf

22. SUGGESTED READING
 Brenna, B. (2013) ‘How graphic novels support reading comprehension
strategy development in children.’ Literacy, 47(2) pp. 88-94.
 Fee, W.T.B. (2013) ‘Where is the Justice…League?: Graphic novel
cataloguing and classification.’ Serials Review, 39(1) pp. 37-46.
 Frey, N. and Fisher, D. (eds.) Teaching visual literacy: Using comic books,
graphic novels, anime, cartoons, and more to develop comprehension and
thinking skills. Thousand Oaks, CA: Corwin Press.
 Klock, G. (2002) How to read superhero comics and why. New York; London:
Continuum.
 Sabeti, S. (2011) ‘The irony of “cool club”: the place of comic book reading in
schools.’ Journal of Graphic Novels and Comics, 2(2) pp. 137-149.
 Weiner, R.G. (ed.) Graphic novels and comics in libraries and archives:
essays on readers, research, history and cataloging. Jefferson, North
Carolina: McFarland & Co
 West, W. (2013) ‘Tag, you’re It: Enhancing access to graphic novels.’ Portal –
Libraries and the academy, 13(3) pp. 301-324.
 Wolk, D. (2007) Reading Comics: How graphic novels work and what they
mean. New York: Da Capo Press.